Beginning in 1894, the Vienna Camera Club (Wiener Camera-Klub) began publishing a luxurious periodical titled, Wiener Photographische Blätter. The club was founded in 1861 and was the first of the amateur societies in a German country and by the early 1890s was intent upon establishing itself as the leader of a growing pictorial movement in Eastern Europe. To this end, it provided a showcase for its work by issuing Wiener Photographische Blätter which survived for five years: 1894-1898.  The journal devoted itself especially to the artistic side of photography and was notable for its beautiful illustrations. In America, Alfred Stieglitz was intrigued with the journal’s publication. Contemporary writer Weston Naef writes: “In January the first issue of the Wiener Photographische Blätter appeared… with seventeen original photogravures by Hugo Henneberg, Hans Watzek, F. Mallman, J. S. Bergheim, and Adolph Meyer.  Each gravure was printed with an ink of a different tone, and some like Meyer’s were mounted on colored paper, making this among the most carefully produced photography periodicals published anywhere in the world.” Naef’s reference to the journal’s issuance of 17 original photogravures for the January issue would most likely need to be amended however, as the entire year of 1894 featured a total of 21 photogravures, (16 being chine-collé gravures) two collotypes and a gelatino-chloride print of three stereoscopic views by Eduard Marauf. For the first year the majority of the copper plates for the photogravures were etched and impressions hand-pulled by Viennese copperplate engraver J.Blechinger, the son-in-law of Victor Angerer. Alfred Stieglitz would have been suitably impressed by their quality. In addition to having his own work published in later issues, the journal would influence his own business venture with photogravure and more profoundly, as a standard to emulate when he issued photogravure plates as editor of Camera Notes and later his own journal Camera Work (1903-1917). [1]